The ghost of a young murdered girl flits through every scene linking the pain and anguish of all the characters struggling to cope with urban life.

    Amy is curled up on the locker room floor. DRY LAND is a play about abortion, female friendship, and resiliency, and what happens in one high school locker room after everybody’s left.

    Her characters suffer and survive against the enormous weight of the times with a dignity that inspires. Her work challenges the audience and reader to reexamine the conflicts and meaning of our everyday lives through her singular, poetic imagery and language.Includes: One Flea SpareIn the Heart of AmericaSlaughter CityThe War BoysThe Trestle at Pope's Creek

    The game setting? A subdivision with identical houses. The goal? Smash through an army of zombies to escape the neighborhood for good. But as the line blurs between virtual and reality, both parents and players realize that fear has a life of its own. "Playing like a nifty episode of 'The Twilight Zone', the story builds to an affectingly grues

    This extraordinary drama, produced to acclaim at the Actors Theatre of Louisville originally, and at NYC's Second Stage is about a celebrated 1930's French murder case, in which two maids sisters were convicted of murdering their employer and her daughter. This very cinematically structured work explores the motivations whi

    This play, translated from the original Marathi, is one of his most gripping, socially relevant ones.

    But while rumors run wild and everyone forms an opinion, Scarlett just stays silent.With roles for up to twenty-four young female actors (though it can also be performed by a smaller cast), the play is perfect for any schools, youth theatres or drama groups looking to tackle a contemporary subject in a theatrically exciting way.Specially commissioned by Birmingham Repertory Theatre, Theatre Royal Plymouth and West Yorkshire Playhouse, Girls Like That was developed through work with young people from the three theatres and first performed by their youth theatre companies in 2013."[Tackles] strong, relevant issues... a well-written, immaculately crafted and brave piece of energetic theatre." - A Younger Theatre"An urgent, powerful and haunting examination... I can see this play becoming a very popular resource for 16+ groups and that will be no bad thing." National Drama MagazineEvan Placey is a Canadian-British playwright. His other work includes Mother of Him, Holloway Jones, which won the Brian Way Award for Best Play for Young People, and Pronoun, commissioned as part of the 2014 National Theatre Connections Festival.

    Purchasers can download a free scanned copy of the original book (without typos) from the publisher. 1905. Excerpt: ... ACT I Scene--The octagon room at Sir Robert CHILTern's house in Grosvenor Square. [The room is brilliantly lighted and full of guests. At the top of the staircase stands Lady Chiltern, a woman of grave Greek beauty, about twenty-seven years of age. She receives the guests as they come up. Over the well of the staircase hangs a great chandelier with wax lights, which illumine a large eighteenthcentury French tapestry--representing the Triumph of Love, from a design by Boucher--fhat is stretched on the staircase wall. On the right is the entrance 'to the music-room. The sound of a string quartette is faintly heard. The entrance on the left leads to other reception-rooms. Mrs. Marchmont and Lady Basildon, two very pretty women, are seated together on a Louis Seize sofa. They are types of exquisite fragility. Their affectation of manner- has a delicate charm. Watteau would have loved to paint them.) Mrs. Marchmont. Going on to the Hartlocks' tonight, Margaret? Lady Basildon. I suppose so. Are you? Mrs. Marchmont. Yes. Horribly tedious parties they give, don't they? Lady Basildon. Horribly tedious! Never know why I go. Never know why I go anywhere. Mrs. Marchmont. I come here to be educated. Lady Basildon. Ah! I hate being educated! Mrs. Marchmont. So do I. It puts one almost on a level with the commercial classes, doesn't it? But 1 dear Gertrude Chiltern is always telling me that I should have some serious purpose in life. So I come here to try to find one. Lady Basildon [Looking round through her lorgnette]. I don't see anybody here to-night whom one could possibly call a serious purpose. The man who took me in to dinner talked to me about his wife the whole time. Hrs. MArchmont. How very trivial of him! Lady Basildon. Terribly trivial! What did your man talk about? Mrs. Mabchmont. Abo...

    For this volume, Professor Hadas chose nine plays which display the diversity and grandeur of tragedy, and the critical and satiric genius of comedy, in outstanding translations of the past and present. His introduction explores the religious origins, modes of productions, structure, and conventions of the Greek theater, individual prefaces illuminate each play and clarify the author's place in the continuity of Greek drama.

    The action of A Flea in Her Ear, one of the best-known French farces, takes us to the sleazy Lanterne Rouge Hotel with a fine crop of mocking, mistaking, insulting, groping, kicking and mimicing, all in a spanking new translation.

    As a matter of fact, there is almost no scenery, and the various scenes are played within a single setting in which lights and a half-dozen articles of furniture are all that are used."

    Ever been racially slurred in the sack? Ever been subjected to strangers yelling at you at 3am about the most intimate details of your life? Ever been to New York? Six characters from wildly different backgrounds make love, war and hysteria late one night in the cultural, sexual and generational smorgasbord that is Manhattan.

    These “seven stories” lead to a charming and surprising ending.Cast of 2 women and 3 men.

    Upon its publication in 1963, An Actor's Handbook quickly established itself as an essential guide for actors and directors. Culling key passages from Stanislavski's vast output, this book covers more than one hundred and fifty key concepts, among them 'Improvisation', 'External Technique', 'Magic If', 'Imaginary Objects', 'Discipline', 'What Is My System?' and 'Stage Fright'.This reissued, attractively packaged edition will be an essential book for any performer.

    Poetry. Performance Studies. African & African American Studies. California Interest. Hybrid Genre. Winner of the 2016 Relentless Award from the American Playwriting Foundation. Introduction by Dawn Lundy Martin. Aleshea Harris' IS GOD IS is a classic revenge tale about two sisters that blends tragedy, typography, the Spaghetti Western, hip-hop and Afropunk. In this necessary new play, emotions are laid bare through gaps in language and characters are a window into the canon as well as our own broken times. A rigorous new work that unearths our deepest fears about humanity and who we think we are in relation to ourselves and the divine.--Dawn Lundy Martin Family, as the old tragedians knew, is our first country. Therefore, it's the earth from which we forge our first weapons, the fields of our first wars, the very turf over which we fight. With IS GOD IS, Aleshea Harris audaciously scours tragedy down with the rough edge of a rock. To read this merciless play is to get blood in your eye--and in Harris' sure grip, you'll recall that blood washes and stains, can run hot or cold, means both violence and family.--Douglas Kearney 3 Hole Press is a small press bringing new audiences to new plays in printed formats. The Press publishes titles that expand notions of what a play is, the possibilities that emerge for drama on the page, and the connection between plays and other mediums. Interdisciplinary by design, these books belong outside the drama section.